“Georgia Mae Bishop made Madame Arvidson into a striking creation, bringing a very different physicality to it than Rosalind Plowright in the main cast, yet equally vivid. Bishop… mined a thrilling lower register to striking effect.” (PlanetHugil).
“…whilst Madam Arvidson (performed superbly by Georgia Mae Bishop) tells their fortunes.” (Alice Williams, Youthoperareview.co.uk)
“… fortune-teller Madame Arvidson (Georgia Mae Bishop as an appropriately OTT psychic). (arbuturian.com)
“…notable performances were Georgia Mae Bishop’s confident portrayal of Madame Arvidson the fortune teller”… (KH, artmuselondon.com)
It’s now only a matter of days until rehearsals start for Opera Holland Park’s production of Verdi’s un ballo in maschera, in which I will be performing the role of Madame Arvidson as a Young Artist for the Schools’ matinee, a dedicated young Artist performance towards the end of the run, and as cover for the magnificent Rosalind Plowright.
I feel it’s important to say that opportunities like this don’t come around every day for a young singer. To perform a full Verdi role, on a (sizeable) London stage with a fantastic orchestra is both thrilling and terrifying. The complexities of preparing a role like is both time consuming and expensive. For the latter, I am extremely grateful for the support of Audition Oracle’s bursary award which allowed me to have sessions with Matteo dalle Fratte at Melofonetica, Dominic Wheeler and my wonderful teacher Marcus van den Akker.
For any student at music college these kind of sessions are a part of a normal week, and I’m so grateful for the connections and relationships I made at Guildhall (and Trinity Laban prior to that). However, I’m sure all singers will agree with me when I say the journey doesn’t stop when you leave Conservatoire and this invaluable support from Audition Oracle has allowed me to continue developing whilst finding my way through my first year in the freelance world!
‘Georgia Mae Bishop proved an astute comedian as a spirited Filipyvena, and her strong mezzo projected the English translation with clarity’ (Peter Reed, Opera Magazine, December 2018)
‘Georgia Mae Bishop as Le Prieure delivers a stunning death scene as her impassioned mezzo-soprano generates a real feeling that she is searching her soul to its very depths. When we are used to the part being played by the likes of Deborah Polaski, we realise just how great an achievement it is for one so young to remain this powerful and convincing over such a sustained period.’ (MusicOMH) March 2018
‘…an especially strong impression was left by Georgia Mae Bishop’s sonorous Zita.’ (Opera Magazine) July 2018
‘The sick Prioress… is played with considerable force by Georgia Mae Bishop, and in the context of the work she makes the old nun’s doubts vividly disturbing’ (Classical Source) March 2018
‘Georgia Mae Bishop… a performer with a strong vocal personality and stage presence’ (Opera Magazine) March 2018
Georgia Mae Bishop rose admirably to the challenge bringing a vibrant dramatic intensity to the death scene along with an immense physicality (Planet Hugill) March 2018